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Christopher
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Crop Dogs

V/A From Fire To Rust
Foundation

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Round Flat Records
63 Lennox Avenue

Buffalo, NY 14226
C2 <N nnd

STAMPS FoR COOL. NEW
Avip NEL ee Ane TUrE *LETTER

PAAKE CHEUS AB
TO. BRIAN ail
BAGDONAS &
p.o. box 3411
dayton oh 45401

sé

Al
PE ee eee 3

TOM@gAY

TOMRADIO is your
source for on the
edge alternative
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TOMRADIO needs
your support. A
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TOMRADIO show is
avaliable from
this fanzine for
$6.00.

CALL your campus/
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“\ ANAND

: Fook KILLERS ¢_,
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WN R SUCKERS?
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The Supersuckers rule. | first saw them in Seattle opening for the Dwarves. They knocked my socks
off. Four guys, two guitars (Sometimes two matching Gibson Les Pauls). They like to give you the
finger and tell you how old they are. They write songs about giant gorillas and about being poor.
But the best thing about the Supersuckers is that they play their instruments with power. They also
seem to have a Hell of a good time doing it, One of the most amazing things I've ever seen was ata
free promotional show by Subpop at Rockcandy, a club in Seattle, where the band was covered in
beer and other miscellaneous liquids thrown on them by the audience. They seemed to feed off the
abuse. They got better and better as they got wetter and wetter., and never faltered, even when
literally blinded by beer. It's impossible to say exactly what makes them great. They've just got
something Phil Collins never even heard of. .
Needless to say | was very excited when | saw that the Suckers were playing Boston, my hometown
with their buddies The Dwarves. Since they were playing there on the same night as Shonen Knife, |
drove down to Providence to see an earlier show. Unfortunately, Providence is a seasonal town, and
in the summers not many people are around to see punk rock shows. Nevertheless, the Suckers
wowed the twenty people who showed. | guess | felt bold in my old school town or something
because | started a conversation with Dan, the drummer. | don't remember what it started as, but
it evolved into a comparing-notes-about-Seattle thing. Ed, the bassist/singer told me about the
difficulties of releasing anything on vinyl. Sadly, before | could reach any kind of real conversation
level, The Dwarves set something on fire, some locals smoked the club out with chemical fire
extinguishers and all Hell broke loose.

Oh well, it was great to see them, | thought, and prepared for another great band, Shonen Knife.
Shonen Knife played at T.T.’s, The Dwarves/Suckers at The Middle East, literally next door to one
another. Waiting outside for my friend Jessica to show up, | was keeping company with Dan and
Ron, the guitar player, who thought | should blow off the Shonen Knife show to see them again. They
couldn't convince me, but we had a nice talk. They told me about Arizona, where they all met and
started The Black Supersuckers. They dropped the Black when they moved to Seattle in the Eighties
(before the Mudhoney album came out they are quick to explain). They told me they had spent the
previous night in some house built on the border of New York and Connecticut, “with a little plaque to
prove it. They talked about their US/Canada tour, and the worst town they played was Vancouver.
"Fuckin' Calgary was more fun than Vancouver.” As if Calgary were Butte, Montana or something.
Personally | wouldn't know. My knowledge of Canadian cities is not what it should be.

We talked about Shonen Knife, who they do not like because they are too nice, and strippers, who
they do like, and about Boston, where they had never been before. Basically the Supersuckers are
genuinely nice guyS orf someone told them to be nice to their fans. | suspect it's a little of both.
There new album is out and they are on tour right now.

ti stoe

(™N

The posters were
everywhere: "Jim Rose Circus
Sideshow. . . Midnight. . . Freaks!"
The night of the show arrived and
as the witching hour approached
no necessity for a slick, flashy
barker hawking the venue existed.
A line spread three people thick

tending a half block back

ollectively hungered for the
bizarre. Suddenly- The dreaded
announcement was made-"SOLD
OUT!" Inside, literally thousands
of people craned their necks to see
Mr. Rose's Cabaret of the
Nauseating. The clubs usual Punk
crowd was there, but tonight mixed
in were the purveyors of Classic
Rock, Top 40 and Sweet Soul
Music. For tonight was not about
music (though it was very "Rock
and Roll"). Tonight was about
Freaks-and voyeurism knows no
social boundaries.

Actually "Freak" is not

“tly correct. "Geek" is more
‘rate. In a sideshow a Freak
ld usually be someone
ysically different than the
ormal ” people who make up the
audience. A pinhead or mulefaced
woman are examples. A Geek is a
sideshow entertainer who does
something bizarre, or disgusting to
genteel sensibilities for the pleasure
of the viewing audience
(traditionally biting the head off of
a live chicken and drinking the
blood). That is closer to what Jim
Rose's posse of young, body
manipulators and modern
primitives are. If you go expecting
to see Siamese twins (as my friend
did) you may be disappointed.

Besides Mr. Rose and his .

lovely assistant (whose job differs

from Vanna White's in amount of
time handling maggots and bile
and tracheal fluid covered objects)
there were four performers that
evening. Billy Ray Cyrus lookalike

Ai CIRCUS ‘a, ‘SIDESHOW:

aN,
Torture King, with an expression of
dour seriousness, displayed his
chest as a human pincushion with
over 40 needles piercing the skin.
He then stuck needles and skewers
through the skin of his throat, arm,
orbit of his eyes and in one cheek
and out the other. His bored, .
distant expression showed no pain
or emotion and from where I was
standing, his skin showed no
blood. Later when I spoke to him
up close, his body actually did look
like you'd expect one to after
sticking pins through it, but during
the show it's amazingly clean
looking. Also his mood was much
friendlier and more open than his
stage personality. I guess it's
important not to seem too normal
when your skewering yourself for
showbiz purposes.

Mr. Lifto, a handsome young
oddity emerged in drag, looking
not unlike the killer in Silence of
the Lambs (not Hannibal, the other
one). He then lifts weights and

. irons (the kind you iron clothes

with) with hooks in his pierced
ears, tongue, nipples and of course,
penis. This stunt was the favorite
of the fellow next to me.

2 es 2

The star attraction is The
Tube. His big trick is to insert
seven feet of rubber hose into his
stomach via his nose and then
have 40 ounces of beer, some
ketchup, chocolate syrup and a
bottle of Maalox pumped into his
stomach and then sucked out with
a giant syringe. Then the extracted
liquid, now greenish from the bile,
is poured into cups and drunk by
the performers, with Al
Jourgenson of Ministry as the guest
Mocha-Bile Beer Cocktail drinker
of that evening. This stunt brings
down the house. My favorite
performer was Slug. Slug plays
keyboard circus organ style in
accompaniment all night until it is
his turn to shine. After a velvet
throated rendition of Misty, he
leaves the ivories to demonstrate
that his esophagus has other skills.
After eating some worms, crickets
and maggots, he wows the
audience with classic sword
swallowing. What is most
appealing about Slug is that he
shows the most personality during
his act, specifically he acts like a
mugging, wise-assed, likable little
kid - one that would eat worms to
show off and make the girls go
"ewwwwww.

The soul of the sideshow,
though, is of course Mr. Rose
himself. Manically emceeing
shirtless in a vest with his boxers
pulled way higher then his pants’
waistline (cool 90's style), Mr. Rose
hawks his cadre ( at one point
screaming at Torture King “I would
never exploit you!") adding humor
to the unsettling and framing the
performers acts with his own
classic tricks (Bed of Nails, lying in
glass, straitjacket escape, etc.).
What he adds to these old
chestnuts is his style. Houdini
used to perform to a patient
audience sitting in-a theater for
hours while he would perform a
seemingly impossible escape.

What is most striking about
the entire act is that these
performers are, in some ways,
mirror images of the punk
members of their audience. They
are young, grundgy, intelligent
people who are tapped into a
certain energy that a lot of their
generation feels. The Generation
X,"Slacker", “Eightball” and "Dirty
Plotte" comix, RESearch books, etc.
etc. Groove. Rose's Geeks share
more than a Seattle home in
common with SubPop records and
Today's audiences wouldn't play “Hate” comics. I can't explain it
that. They want blood! So instead _ any better than that who they are
of going the usual magician route- truly fits in. Jim Rose puts part of it
trying to impress audiences by
developing better and more
baffling tricks and illusions- Rose
does old tricks louder and nastier
then anyone before.

While a modern audience
would be expected to marvel at a
straitjacket escape only if it was
done remarkably fast or as part of a
dangerous scenario (suspended
over blades or something), Mr.
Rose appeases the audience by
escaping slowly and methodically-
WHILE SCREAMING IN PAIN!
(He of course proceeded the trick
with an allusion to intentional
shoulder dislocation.) Another
time he does an old Houdini trick
of swallowing needles and thread
and regurgitating a threaded
needle. Instead of needles, though,
he uses razor blades. Now
obviously threading needles is
more impressive, but razors-That is
so gross! And therein lies the heart
of the magic of the 90's that sells
out rock clubs.

very clearly in his spiel: “Look at
what we do not to get jobs."

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Chicago, Dlinois is world
renowned for it's R 'n' B tradition.
Many famous bluesman such as
Howlin’ Wolf, Muddy Waters and
Little Walter recorded under Chess
label and that is one reason why
Chess is considered, historically,
Chicago's most important R'n'B
record label. While Chess is
deservedly recognized, we must
acknowledge the contributions of
Vee Jay records, an independent
label whose influence and music is
less known, but in the world of
R'n'B is possibly just as significant.

Vee Jay was the first Black-
owned major record company. Vee
Jay's success was due in part to its
versatility and because its product
was firmly grounded in and did not
part from its Black roots. As with
Chess, Vee Jay's roots grew up from
the South. And the Southern
Black music that played an
essential role in the history of Vee
Jay was Gospel.

In his book on Soul music
Nowhere To Run , Gerri Hershey
describes Chicago as a Gospel
"fortress". It was the demand for
Gospel records in the Chicago area
that motivated Vivian Bracken,
husband James Bracken and Calvin
Carter to establish Vee Jay. (Vee
stands for Vivian and Jay for
James.) Randy Wood, who became
the president of Vee Jay in 1963,
tells about the formation of Vee Jay
in Arnold Shaw's great book
Honkers and Shouters :

"The company started out as
a Gospel label. The Brackens had a
set of small retail record shops in
the suburbs of Chicago, as far out as
Gary (Indiana). They had

dia Be A ee oe eB Le

just didn't have sufficient product.
Companies like Apollo and Savoy
had limited catalogues. People
interested in Gospel collect records
the way kids collect their favorite
Rock artists. James Bracken told
me that that was one of the reasons
for forming Vee Jay.” (p. 327)

One of the great Soul singers
with a background in Gospel is
Jerry Butler. Like many Black
Chicago artists, Jerry Butler was
born in the South ( Sunflower,
Miss. ) and as a youth moved to
Chicago. When he was only 15
years old Butler's father passed
away, leaving him to support his
three siblings by singing Gospel.
Despite his singing talents, he
studied to be a chef and an ice
sculptor (Hence, among other
reasons, Butler's nickname, "The
Iceman"). After a time, he began
singing at Traveling Souls
Spiritualist Church where a
meeting with songwriter Curtis
Mayfield and Sam Goodin led to
the formation of the Impressions.

At the Impressions’ audition
for Vee Jay in 1958, Butler sang
"For Your Precious Love” which
shot up to the Top Ten in five
weeks. But without consulting
members, Calvin Carter had the
credits read: "Jerry Butler and the
Impressions” which caused friction
and his breakup with the band. As
a solo artist, Butler scored a
number one hit on the R'n'B
charts with "He Will Break Your

Heart". In 1962, in an effort to cross

over into the mainstream, he
_recorded “Moon River" and the
following year he recorded “Make
it Easy on Yourself", written by
Burt Bacharach and Hal David.

Both songs made the Pop and R 'n'
B charts, and although Butler called
the songs "prostitution in a sense,”

he acknowledged the legitimacy of ‘

reaching wider audiences and
making money. (Shaw, p. 326)
From the beginning, Vee Jay
Records sought to cross over into
the Pop record markets. While
Chess records recorded Blues that
was raw and authentic and scored
hits with rockers like Bo Diddley
and Chuck Berry, Vee Jay found
Chicago's vocal groups could sing
ballads that could be hits in the Pop
market. Vee Jay's first release was
by the Spaniels, a group that started
singing together at Roosevelt High
School. Named after a dog breed
and possessing super cool vocals,
the Spaniels scored a huge hit with
“Goodnight, Well It's Time to Go",
a 1954 release.
Another group with a smash

ballad hit on Vee Jay was the Dells,
who began singing in choir and

then together at Thorton Township

High School. In his book Rhythm
and Blues, Lynn Ellis McCutcheon

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left: Jerry Butler, Fred Cash, Richard
Brooks, Curtis Mayfield, and Arthur
Brooks.

c e Dells “a fine contemporary
group and one of the last of the
great R ‘n' B giants of the fifties."
(p. 257) The Dells' biggest hit,
indeed the song that became
Synonymous with them, was "Oh,
What a Night", recorded in May of
1956. The song featured an
interesting use of call-and-response
with lead singer Johnny Funches
repeating "Oh, what a night" while
the group responded with "To hold
Ou...to squeeze you". "Oh What a
Night" reached number four on
the R'n'B charts and started the
Dells on a successful career that
brought them to "The Ed Sullivan

; Gy

The Impressions, 1958. Clockwise from top

Show" and "The Tonight Show’.
The Dells are still active today and
are celebrating 1992 as their 40th
year in the business. (see next issu
for more on the Dells)
The production of Calvin

Carter at Vee Jay was a creative
force in making the records hits.
"Records cut by Vee Jay were true
vocal records with lean
instrumental backgrounds. Voices
were used inventively to fill the
Spaces generally assigned to
instruments.” (p. 317, Shaw) With
the exception of "Sincerely" by the
Moonglows (one of whom was a
brother of one of the Spaniels),
Chess Records' experiments in
production dealt mostly with
adding echo and distortion to
Blue's vocals.

Another Vocal group who

scored a hit with Vee Jay was the El

Dorados who came from
Englewood High School. The El
Dorados sound as outgoing and
partying as the Spaniels sound cool.
The El Dorados, who recorded with
Vee Jay from ‘54 through ‘58, had
one smash hit entitled "At My

‘Front Door", which reached

number 1 on the R 'n’ B charts in
1955. Although the group recorded
many great ballads, such as “I
Began to Realize", "At My Front
Door" is their most intense,
rockingest tune-I love that song.

With songs like the ones
mentioned and other successful
releases by artists such as John Lee
Hooker, Jimmy Reed and Dee
Clark, it is no wonder Vee Jay
Records was initially very
successful. Within two years of the
Spaniels "Goodnight, Well it's
Time to Go" Vee Jay owned a
building on Michigan Avenue
across the street from Chess. By
1962, Vee Jay was selling incredible
amounts of records with a white
band called The Four Seasons who
had three number one Pop hits in
‘62 and ‘63, “Sherry”, "Big Girls
Don't Cry", and “Walk Like a
Man".

Despite it's early prosperity,
the strings of hit records and the
outward appearance of thriving
enterprise, Vee Jay folded in 1965.
Through a deal negotiated by
Randy Wood in 1963, Vee Jay
released four Beatles singles in '63
and '64, but the Beatles did not
catch on in the states until "I want
to Hold Your Hand", which was
released by Capitol. This was bad
luck for Vee Jay, but even if the
Beatles had scored with Vee Jay, it
still might not have saved the label
which was mismanaged and in
debt.

When Randy Wood took
over as president in 1963, Vee Jay
was trying to regroup from every
standpoint-from the location of
masters to paying creditors,
distributors and artists. As Wood
stated, “We found one pressing to
whom we owed a quarter of a
million dollars. At one point, we
had no fewer than sixty-four legal

a
ase ‘=

42. The Eldorados (Courtesy of Vee Jay Records)

acts going on." (p. 338, Shaw) Part
of the problem was past owner
Abner Ewert's refusal to straighten
out the bookkeeping. Also because
the business was family owned,
there was a reluctance to fire any of
the ‘dead weight”. After missing a
chance to sign hitmaker Johnny
Rivers, Vee Jay's luck had run out.
They filed for bankruptcy in 1965
and a company called Modern

Distributors formed by Betty
Chapetta “spun off" the masters to \

Bape iia
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EDUCATION

WHITE BOY READS 8% FEWER BLACK
MALES GO TO COLLEGE THAN 1980,
RUSHES UP TO GROUP RAPPING AT
SLUM ST. CORNER TO MOTIVATE -

a. You guys’ got equal access
b. to make yourselves a success
c. Get unstuck from this mess!
IN RESPONSE, THEY RAP BACK

1e You expect us
to matriculate?

2. Having grown up in

' @ separate state?

3. Don’t you shake your finger.

White Boy, it’s too late!

WELL, SAYS WHITE BOY. WHY

NOT CUT A RECORD, OR GET A
SPORTS CONTRACT: HE CAN'T
FINISH BECAUSE OF FAT LIP

BIAS

cs - : — tie fo
3 the Four 5eason sii

several record companies.

The rise and fall of Vee Jay
Records is important because of the
great authentic R ‘n’ B that came
out of Chicago in the ‘50's and
'60's. The songs of the vocal
groups and Soul singers of Chicago
influenced R ‘n’ B and Pop and,
hence, Rock and Roll.

As a business, Vee Jay is
important as the first Black owned
record company. As R'n'B expert
Arnold Shaw puts it: “Perhaps Vee

= ee

Jay's experience as a Black owned
label that failed helped Berry Gordy
build the Black owned enterprise
that became the fabulously
successful Motown entertainment
complex.

Also recommended; The World of
Soul by Arnold Shaw and Chicago
Soul by Robert Pruter.

IF THINGS ARE REAL OB-yI- pe
CHE DOESN'T Notice. IT”

ATSYO!

CAR Ol:
“af gar pane STENG ‘

Kan CARDINAL

tast zonth Chunbawunba brougn* their
punk rocs
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disco teats, folk music,
theatrics to The dindy City.
in-store show at

in a British accent. Though vis

theaselves by playing tn a record store, tne

to deliver a dynanic, diverse se
and instrument changes and

reckless Records,
podystocking dancing and twirling an
a rapping nun and Elvis in a crown of

coherent salad of politics,
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power= ul lyrical content.

An@ this is how our talk went.es

POC TCESn:
Lisa: Leeds, slap barg in the =
die of inglass.

&: And how mary ‘times "ev? you
to the States?
-; I"ve personally beer six tines,
*his is the vancs second.

me a little bi* adout
Tt*s such a

énat town are you ps ol Wf

creer

A: Can you tell
how you got together.
big cand... |
t:well usually in England it's d1z-
ga’ ‘cause in Sngland tnezes a orass
section, but we ‘avn't got one in
t-e states, For starters we can’t
“ford it. We got together ten years
223, same nucleus, there's orly one
serson different. Ae started off as
born again Anarchists, early eight:es,
really strict with ourselves. Lived
in the same ‘ouse, shared tne Sane -0-
ney...um... I tried really ‘ard for us
to...to set ug tais alterma*ive Living
style, but we decided tnat we were, .un
..it were'’nt the test way to live for

us, It was false you xnow, -t as a
tit lixe a religion. So gradually We
gct nore and more debdaucnec,.

3: What's the nane mean?

=: Nothin’.

2; Notning?

~: Fuck all.

>; what are the songs acout?

Zt: A lot of the songs are oasec on
really tiny moments that ‘ave inspired

us, lixe wher. Dan comes out a5 tre na-
wed san in the bodysuit, it’s abou»
Duten resistance fighter during Nazi
vation and it°S 2...

Eut how's anyone going to get that?
Well it don't matter really if cney
éo or if they don't, it's *ne spirit,
YR KNOW. ee

=; Well, the spirit was ~here.
-; Sane way as the one that Lu si
"Stitch" (note: I'm not sure if this
tne correct song title, , that's a
+rue Story about a woman at ‘ome wnose
‘usoana beat her up basically alncst
ev'ry night for fifteen years. ‘e
ca-2 ‘ome drunk one night pissed ou%
of nis brains and she waited ‘til ce
fallen asleep and then she ‘alt killed
‘im in ‘is sleep. Basically she sewed
‘in into tne bed. covers and ther: deat
‘i witn kitchen utensils. anc that's
a true story. All the songs ‘ave Ss<o~
nag

7.35 »
1s

tt w

» What wes your best “alloween ccostune?
: un... 1 went as Castro last year

in Gan Francisco for the Sis gay Sort
of talloween special, and + =
ended up without any clotnes.

* a . s
emie *
we & tee ie

A: What about when you were a kid?
-; Fuckin ‘ell, let me ‘ave a chink.

Ch we did a brilliant thing...°* were'nt
actually on ‘alloween, we ‘ac i+ after
‘aloween. Where all of us sade costunes
for sorebodies birthday ard..uh,.ane
were a Creature from the Black 12690",
and i made nyself a fifteen foot wire
tail.

R: Wow...

IPut I couldn't fuckin’ sit down ail
Went to this rest'raunt 2 "ad

of balance it over xe test and

‘alioween in
the way «nar you ‘ave i+, I neayn we
tave ‘alloween out it’s nore aia pacs.
In Englan? you got Guy Fawkes , 7iftn o
Novenber, wnetTe we celeorace Guy Fawkes
trying to turn down Houses of rariianer
and ev'ryoocy ‘as a fire, Ajl whe kiss
in tnglarc ‘ave a fire on tne fifth of
“oventer. -%'s funny because ev'rvor
pretty mucs eelebrates Guy Feetés , 2u*
‘se actually did it because ‘e were 4
religious zealot.

2: Yean?

L: You mow, a xaniac Catholic and trie
to burr. it secause ‘e wanzea a returm
to Tatholocisa@. 50 you K.OW...our Guy
Fawxes night is brillianz. we used ~

light a borzire ev'ry year.
Qa: You nave five seconds, Say somethin

outrageous. ( A phrase eacn of the tan
members taS printed on *ne=r t-shirts.
L: I Gon't know if it’s outragecis, be
I've just discovered fistfucking, anc
it's incredible. it's far sever thas
normal penetretion. A pit of cract:
and youre *nere. That's not outrage
it's tecnnica..

2..eLubrication...you need a lot?
sLubrication and a glove.

> ard a glove. Bay

sn the glove.

tt wo

L: I"ts als

glove
Baseball glove

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